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All these songs are about some heavy stuff. There isn’t a song on there that isn’t about something intense. To hear all the songs in a group, I didn’t even realize that my life was that intense. When I proofread all the words for the songs, I went, ‘Wow, even I’m amazed that you’re still alive!’
— Stevie Nicks on Enchanted, July 1998

ONE MORE BIG TIME ROCK AND ROLL STAR

["The song is about a rock star who sends flowers instead of showing up himself. Nicks won't name names in this case."] "It's such a rock-star thing to send flowers. It's sick to send a $150 arrangement of flowers and think that that's going to make it OK," says Nicks. Of such an individual she adds: "Nobody needs one of those. They are a pain."
~Stevie Nicks, San Jose Mercury News, 7-98

TWISTED

"When I was asked to do a song for the movie 'Twister,' I had my friend Rebecca read the script. She then gave me the "Reader's Digest" condensed version so I could decide whether to so it or not. As she explained it to me, I realized that this really was... MY story. It was about people who had extreme jobs... like chasing tornadoes, or being in a rock band. Anyway... I really handcrafted this song for the movie. Unfortunately, if you saw the movie, you missed the song... and you certainly missed my message. So I decided to give you the original demo, recorded March 10, 1996 on a 4-track Tascam by my assistant extraordinaire, Karen Johnston. I was living in a beach house overlooking Sunset Boulevard and the Pacific Coast Highway, and beyond that, always... the ocean. When I decided to put this in the "box set," I called Jesse V. [Valenzuela, from the Gin Blossoms] (just last week) and he put some "vibe" mandolin on it. I love this song. I hope this time... you will understand it."
~Stevie Nicks, Enchanted liner notes/booklet, 1998

LONG DISTANCE WINNER

"I liked Long Distance Winner 'cause it was real kind of Greek, European... you know, like that kind of ethnic sort of a [hums the beat] And it was wonderful on stage, and it was about Lindsey and it was, you know, a heavy kind of song about our relationship. Now, see I probably would have loved that song much more because I would really sing it now. I wasn't very confident with my voice when I was in Buckingham Nicks... I didn't think I had a very good voice, so I didn't try very hard, I just basically sort of tried to back Lindsey up and make him better."
~Stevie Nicks, Earth News Special, The Songs of Stevie Nicks, 1982

[On Long Distance Winner] "It was really Lindsey and me and the kind of cool thing about it is that I don't think Lindsey and I will ever again do anything that is that Lindsey and me. So that's... there... you know, I don't think we can ever be Buckingham Nicks, because that was when it was beginning, and that was when we practiced more than we've ever practiced since. And we spent more time together and we communicated more. And he really worked on my songs with a... with a fever, you know."
~Stevie Nicks, Earth News Special, The Songs of Stevie Nicks, 1982

"Back then, Long Distance Winner was very much about dealing with Lindsey. How else can I say it? 'I bring the water down to you/But you're too hot to touch.' What the song is really all about, is a difficult artist, saying, 'l adore you, but you're difficult and I'll stay here with you, but you're still difficult.' And the line 'Sunflowers and your face fascinate me' means that your beauty fascinates me, but I still have trouble dealing with you... and I still stay. So it's really just the age-old story, you know?"
~Stevie Nicks, Billboard Magazine, April 1998

THOUSAND DAYS

"'Thousand Days' was written about my non-relationship with Prince," says Nicks, who had earlier composed "Stand Back" with him - although she notes he's never called her back "to set up his payment on 50%" of the latter. "Days" recounts an abortive, all-night '80s recording session with him at his Minneapolis home during a Fleetwood Mac tour, climaxing with Nicks "smoking my pot - he didn't agree with my lifestyle - and going to sleep on Prince's floor in his kitchen. I like him, but we were just so different there was no possible meeting ground."
~Billboard Magazine, April 1998

GOLD

[Speaking about working with Stevie on Gold] "Mary Torrey is a friend of Stevie Nicks and when Stevie came down to do ‘Midnight Wind,’ we were going to mix ‘Midnight Wind’ and I really wanted her to sing on ‘Gold.’ Because when she did ‘Midnight Wind,’ she heard ‘Gold’ and said, ‘Oh, I really want to sing on that.’ And I didn’t have the money at that time to put her on. I said, ‘I can’t do it without seeing that amount of money.’ We’d all had a few drinks at that point and what you say at four in the morning half in the bag is not what you might say in the cold light of a sober day. So when she came down to do ‘Midnight Wind’ I had ‘Gold’ out prepared - I had it up ready to go and pretended I was mixing it or whatever. I could tell when she walked in by the look on her face that she was not gonna sing that night. She just had that ‘I ain’t singing’ look on her face. So I said, ‘Stevie, I’m gonna go out do the tag on this song - let’s you and Mary and I go out and sing the end.’ Well, Mary began to cry and I went, ‘Oh, my God, what did I say?’ Stevie said, ‘John, this is Mary’s dream to sing on a record.’ I said, ‘We’ve got to go out and do it.’ So we went out and did the tag and Mary was singing and crying. I had the lyrics to ‘Gold’ written out on enormous cue cards because Stevie really can’t see too well. Mary went back in the booth and I grabbed Stevie and said, ‘Stevie, come on, let’s just do the verses on this song. It’s not gonna take long.’ I said, ‘Turn the tape on,’ so they turned the tape on and held the cue cards out and I put my hand over Stevie’s mouth when she wasn’t supposed to sing and hit her in the back when she was and she did it in one take and I got her on the song."
~John Stewart, interviewed by Peter O’Brien, September 21, 1979

"Then Stevie came in and I said, ‘Stevie, this song is really your kind of song,’ so she heard the track and said, ‘Yeah, I’d like to sing on that.’ She came in and we spent twelve hours one night doing ‘Midnight Wind.’ She said, ‘John, this is a classic. It’s the best record I’ve sung on since ‘Rhiannon’.’ That’s when I started going, ‘Oh yeah? Maybe I’ve got something there.’ She said, ‘John’ - she’s got a great wisdom, she’s got a great clarity - she said, ‘John, let’s make hits. We’ve all made the other kind of record. Let’s make hits. They’re more fun to make.’ I said, ‘Right, let’s make some hits!’ She came in a couple of times and we did ‘Gold’."
~John Stewart, interviewed by Roger Scott September 21, 1979

"...going to Lindsey’s mansion in Hollywood! I said, ‘Lindsey, what does it feel like living in a place like this?’ He said, ‘Well, when I first moved in, I waited for my parents to show up and to take care of it.’ It’s just a song away. I’ve always maintained it’s just a song away. Lindsey was starving before Fleetwood Mac. Just four years earlier he and Stevie were living in a one room apartment, so I said, ‘My God, there’s people out there turning music into gold,’ and I just started playing that riff and built the song on that."
~John Stewart, interviewed by Roger Scott September 21, 1979, on the inspiration to the line "people out there turning music into gold"

"That [working on "Gold"] was an accident. I went in to sing on the wind song ['Midnight Wind'], whatever that was, and was just there and ran out and very quickly put that part right on. That was not even planned. That was done in about twenty minutes and that was about off the wall as anything else."
~Stevie Nicks, The Source Event with Denny Somach, 1981 

FREE FALLIN'

"Someone at Warner/Reprise asked me if I wanted to record it for Party of Five. I love the song and I've always wanted to do it, and they gave me a reason to do it. It fits right in; that's why Tom is my favorite writer. I kind of feel that if I had come into this world as a boy, I would have been him. I really do. I feel like there's a part of Tom's writing that I relate so easily to. He's doing another record now. I can honestly say that one of the things I'm looking forward to most of all is hearing these new songs of his."
~Stevie Nicks, Rolling Stone online 5-98

IT'S LATE

"Recorded April 20, 1995, at Vintage Studio in Phoenix, Arizona, with Jesse Valenzuela. This song, and five others, were recorded on this night. It was the first time I ever met Jesse, and the beginning of a friendship I have come to treasure. I was feeling very uninspired about music. He reinspired me. "It's Late" was a song I had been singing since the fourth grade. It was one of my grandfather's favorites."
~Stevie Nicks, Enchanted liner notes/booklet, 1998

WHENEVER I CALL YOU FRIEND

"I call him Kenny "slave driver" Loggins because he knows exactly what he wants and he got it, and my hat was off because I'm not that easy to work with when people start telling me what to do. But he knew what he wanted and he got it. He got a really good performance and he nor I had any idea that that song would be anything but another really nice song."
~Stevie Nicks, The Source Event with Denny Somach, 1981 

"Well, originally Fleetwood Mac was an opening act for Loggins & Messina, when Stevie had first joined the band. And that's when I met her. And then a couple years later, I was an opening act for Fleetwood Mac. So, it was during that period as an opening act for Fleetwood Mac that I got to know Stevie real well, and we started talking about doing something together... I felt very strongly that [Whenever I Call You Friend] was the tune I wanted to do with Stevie."
~Kenny Loggins, Chris Eric Stevens Spotlight Special, 2-21-82

"Kenny Loggins is an incredibly difficult producer, boy, he's excellent... but he is a real crack-the-whip person. And it was hard recording that song. But yet... and I was angry with him off and on..."
~Stevie Nicks, Chris Eric Stevens Spotlight Special, 2-21-82

[Melissa] Manchester landed her second Top 10 hit as a songwriter in 1978 with Kenny Loggins' hard-driving version of this song [Whenever I Call You Friend.] "Kenny and I kept meeting at those awards ceremonies in the 70s, and finally we wrote a song together," Manchester says. She pauses and adds, "It's weird that he chose Stevie Nicks (to record it with.) But you know what? It's business. So I just let it go." A year later, Manchester recorded this softer, more intimate version of the song.
~"The Essence of Melissa Manchester" liner notes, 1997

BLUE LAMP

"The Blue Lamp is one of my very favorite songs. Blue Lamp was written about a blue lamp that my mother gave me when I first joined Fleetwood Mac. Very heavy leaded glass lamp that I carried on an airplane home with a friend of mine, she carried the base and I carried the shade, home to LA. And we were really afraid it was going to get broken because it was this, you know, leaded glass lamp. They didn't want us to take it on the plane cause it was too big. Well, we got it on the plane, by screaming and yelling and crying. So that is the lamp that I carried from my mother's home. And it became and has remained my favorite possesion. It is the one thing that never changes. It is without a doubt the only light that shines through the shining night much of the time for me. And the blue lamp was supposed to be on the cover [of Bella Donna], the picture of the blue lamp. And I decided to change the cover so there are some very, very wonderful pictures of this group of women and this room and stuff around this blue lamp. So someday those pictures will come out and you'll get to really see the blue lamp. Cause it really is the most beautiful thing you've ever seen, it looks like a huge blue mushroom. And it's a wonderful thing for my mom, too, because it's all so real, even though it sounds like sort of a gothic fairy tale song, you know, it's totally real, every line in it is real."
~Stevie Nicks, WLIR New York interview, 1981

"It was very important that it [the song Blue Lamp] found a place for itself. I love that song. It was really the beginning of Bella Donna because it was the first thing I'd ever recorded with other musicians, and it was the first time I'd ever recorded by standing in a room singing at the same time that five guys were playing. Fleetwood Mac doesn't record that way. They record from a more technical standpoint."
~ Stevie Nicks, BAM Magazine, 9-11-81

"It's a dark blue Tiffany lamp. It will be in the songbook so people will be able to see it . It's a beautiful lamp; it's very mystical. And uh, it just became my very favorite thing and it sort of symbolized to me the light that shines through the night... you know. Cause when Fleetwood Mac-- we found them, or they found us, or whatever, you know... it was a definite light at the end of the tunnel for both Lindsey and I. And this blue lamp really became that light... of which I have always, wherever I live, on and I keep it on all the time."
~Stevie Nicks, The Source, 1981

"I will tell you that the blue lamp was the beginning of the Bella Donna album. Because my mom bought me this incredible blue lamp, about six years ago, and I *did* carry it home, on an airplane... they weren't gonna let me take this lamp on, and I said 'then run over me. With the lamp.' So that light that I talked about came from here [Phoenix]. My mother *loves* the fact that it came from here!" [laughs]
~Stevie Nicks, after performing Blue Lamp live, Phoenix, AZ 1981

[On her bedroom] "Yes, it is. It's fabulous, not because there's a lot of expensive stuff in it but because of all the neat stuff I've collected since I was in high school. There's a lamp that my mom bought for me when I first joined Fleetwood Mac. It's a blue Tiffany lamp, dark blue, and it's called the Blue Lamp."
~Stevie Nicks, Rolling Stone, September 22, 1994

[In response to a fan asking "what the deal was" with the Blue Lamp] "The Blue Lamp is a real Tiffany lamp... it was the first night after I joined Fleetwood Mac, my mom bought that lamp for me. So it was the first really beautiful thing that I got. And it was from her, and I ended up carrying it back from Phoenix to Los Angeles on the plane and they didn't want to let me on the plane with this blue lamp, and I said, 'well, then you're going to have to run over me, 'cause we're not going without the lamp.' [audience laughs] So the blue lamp became, like, this, you know... it still sits right in my living room in Phoenix; it's a beautiful lamp, and people write songs about it, and people walk in the house and say, 'oh, that's the blue lamp," like you just said, you know. So yeah... it really exists. It's really a lamp."
~Stevie Nicks, VH1 Storytellers, 1998

"I need to hear more echoey stuff on the piano, you guys...I mean, just snow and any...make it sound as...you know...just as *weird* as possible, because that's what...ya know...because it's like such an old...you know...like an old Dickens character walking around going "could you give me a dime?"
~Stevie Nicks working through a very early demo of Blue Lamp

GOLD AND BRAID

"Gold and Braid, another song on Enchanted, is an unreleased track from my Bella Donna sessions, and it's about Lindsey wanting more from me in our relationship. But wanting to know everything about someone, which goes hand in hand with being in love, was never something I've ever wanted to share with anybody. Professionally, everybody always wanted me to be their idea of what I should be. I'd flat out look at people and say, 'You know I'm not gonna do what you want, so why do you bother?'"
~Stevie Nicks, Billboard, April 1998

RECONSIDER ME

"Jimmy Iovine brought me this song, written by Warren Zevon. I think Jimmy and I were fighting, and for some reason... I wasn't in a very "reconsider me" state of mind. I don't think Jimmy ever forgave me for not trusting his judgment... so, Jimmy, here it is, little one. Better late than never. And yes, Don Henley IS singing with me. (And Warren, thank you...)"
~Stevie Nicks, Enchanted liner notes/booklet, 1998

"When Jimmy [Iovine] brought me the song, he thought it was going to be a key song in my career, like a second 'Stop Draggin' My Heart Around.' But we got in a big fight because I really don't like to do other people's songs that often. That's why I write my own songs. I was pretty crazy at that point in my life, and you couldn't tell me anything. And I said to him, 'I would never say the words "reconsider me" to somebody. I would never ask somebody to reconsider loving me.' Well, he thought that was the biggest bunch of crap he'd ever heard; so we had a big fight about it, and that's just about the last time Jimmy and I ever worked together. But all these years later, I'm not uptight about it anymore. I'm delighted to be doing Warren's song now."
~Stevie Nicks, San Jose Mercury News, 7-98